Edmund Yeo was born in Singapore in 1984, and graduated from Waseda University. His short films “Kingyo” premiered at the Venice Film Festival 2009; “Inhalation” won the Sonje Award at the Busan International Film Festival in 2010. His debut feature “River of Exploding Durians” premiered in competition at the Tokyo International Film Festival 2014. In 2017, he returned to Tokyo with two films, “Yasmin-san” and “AQÉRAT” (We the Dead), with latter earning him the Best Director Award. “Malu” is his latest film.
On the occasion of “Malu” screening at Tokyo International Film Festival, we talk with him about the story that takes place in both Malaysia and Japan, the cinematography and the editing, working with Masatoshi Nagashe and Sherlyn Seo, and other topics.
The story you present in “Malu” is very interesting. What was the inspiration behind it and why did you choose to have it unfold in both Malaysia and Japan?
The inspiration behind...
On the occasion of “Malu” screening at Tokyo International Film Festival, we talk with him about the story that takes place in both Malaysia and Japan, the cinematography and the editing, working with Masatoshi Nagashe and Sherlyn Seo, and other topics.
The story you present in “Malu” is very interesting. What was the inspiration behind it and why did you choose to have it unfold in both Malaysia and Japan?
The inspiration behind...
- 11/6/2020
- by Panos Kotzathanasis
- AsianMoviePulse
Being born in Singapore, growing up in Malaysia and being based in Japan, Edmund Yeo‘s films always had a pan-Asian perspective, and “Malu”, a Japan-Malaysia co production, seems to cement this approach through a narrative that shares many elements with Naomi Kawase‘s style.
Malu is screening at Tokyo International Film Festival
The story, which unfolds in non-linear fashion, revolves around two sisters, Hong and Lan, who live with their mother in a small fishing village in Malaysia. Their mother, however, is completely unstable and has suicidal tendencies, a mentality that puts much strain to the two girls, and particularly Hong, who, as the older, is also charged with taking care of Lan. One day, their alienated grandmother kidnaps Hong, and actually raises her by herself, with the two girls not meeting for 20 years, until their mother’s death brings them together for one day. A number of flashbacks...
Malu is screening at Tokyo International Film Festival
The story, which unfolds in non-linear fashion, revolves around two sisters, Hong and Lan, who live with their mother in a small fishing village in Malaysia. Their mother, however, is completely unstable and has suicidal tendencies, a mentality that puts much strain to the two girls, and particularly Hong, who, as the older, is also charged with taking care of Lan. One day, their alienated grandmother kidnaps Hong, and actually raises her by herself, with the two girls not meeting for 20 years, until their mother’s death brings them together for one day. A number of flashbacks...
- 11/5/2020
- by Panos Kotzathanasis
- AsianMoviePulse
While there are fewer Japanese titles than usual at this year’s streamlined Tokyo International Film Festival, it’s a varied selection, with numerous international co-productions and films tackling contemporary issues, as well as retrospectives, anime and a few classics. Here are five, new and old, that are worth catching.
“Along the Sea”
After highlighting the plight of Burmese refugees in debut feature “Passage of Life,” director Fujimoto Akio turns his attention to Japan’s controversial technical trainee program for foreign workers. The film follows three young Vietnamese women who migrate to the country, only to find themselves on the wrong side of the law.
“Underdog”
Director Take Masaharu and screenwriter Adachi Shin scored their most memorable collaboration with 2014 boxing drama “100 Yen Love.” They return to the ring for TIFF’s opening film, a bruising drama with a marathon running time of nearly five hours. A bulked-up Moriyama Mirai...
“Along the Sea”
After highlighting the plight of Burmese refugees in debut feature “Passage of Life,” director Fujimoto Akio turns his attention to Japan’s controversial technical trainee program for foreign workers. The film follows three young Vietnamese women who migrate to the country, only to find themselves on the wrong side of the law.
“Underdog”
Director Take Masaharu and screenwriter Adachi Shin scored their most memorable collaboration with 2014 boxing drama “100 Yen Love.” They return to the ring for TIFF’s opening film, a bruising drama with a marathon running time of nearly five hours. A bulked-up Moriyama Mirai...
- 10/31/2020
- by James Hadfield
- Variety Film + TV
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